Revision is a good impulse to have.
I suppose that it's my impulse to mine, as a writer, these scary parts of ourselves and the world.
Maybe it's easier to think about dishonesty and what kind of trouble you can get into as a writer when love and honesty collide and you sidestep that collision, either because you want to protect somebody or you want to blame somebody - which are the usual impulses in love: protection and blame, frequently at the same time - so you don't exactly tell the truth.
An initial impulse of mine was to portray the way in which a city is impacted by war. But this is vague, no? After all, how do you actually have an entire city - or country, for that matter - be a character a reader can follow? One way is by making it smaller and personalizing it, by writing specifically about the citizens and the way they contend with the reality, even minutiae, especially minutiae, of their lives.
Trying to tell an authentic, raw and honest story without making it therapy. Separating myself enough to have perspective while putting myself in the emotional hot seat so that I could make this thing real. Asking for help. Delegating responsibility. Standing up for myself. Fighting the impulse to be sweet and likeable 24/7. Being open to all ideas, but staying true to the spine of the story. Knowing when to let go and when to hold on and fight like hell. Getting out of my own way. Shall I go on?
I felt a lot of ambivalence about going back to graduate school for a second MFA. The impulse was really the opposite from what it had been more than a decade before: I wanted to interrupt a career.
No matter how much you want to be self-sufficient and alone, there is a natural human impulse to need something more than that.
I'm an impulse buyer. There are so many great things online! Having two kids, I feel like that's an easy, fun way to shop without letting it take up your entire day.
I think that the casual reader and the lyric and confession are trickily tied up together. I mean often when I read my students' poems my first impulse is to say, "O, the subject of this pronoun, this 'I,' is whatever kid wrote this poem." The audience for lyric poems is "confessionalized" to some extent. And I think this audience tends to find long narrative poems, for instance, kind of bewildering.
The church is like any large corporation in one respect. In its early days, either the early church or the early years of Microsoft, you see all kinds of creativity, innovation, invention, people have nothing to lose, they're trying to find what works. Then you wake up and you're a vast enterprise, and it's very hard, when you have all kinds of buildings and structures and hierarchy and so on, to hang on to these very creative impulses that helped you get your great success in the first place. As a church we're going to have to figure a way out from under this.
Generally the impulse to find justice through punitive measures can be a kind of quicksand. What James Whitman, the scholar I cite in the chapter of my book, talks about as an urge to level down, I think you see that everywhere. We're going to be a punitive society, so we might as well level out that punitiveness. Bankers and college swim stars and everyone face that same kind of wrath.
The desire to punish is a desire that emanates from a place of equality and justice. The lesson I feel that we have to confront is that that impulse is so easily transmuted into something corrosive and corrupt in how it's actually put into practice. That's the danger. It's not that the impulse is wrong or unjust or not totally righteous. It's that the ways in which the system that operates, the system that we've constructed tends to not deliver the promise of equity we might want, when we look to the system to provide it.
Writing, for me, has to do with liberty of mind. The liberty to intuit, assess, be surprised, even to be ashamed and reconsider. To feel the integrity and generosity of words, but also their disruptive violence and volatility. To even begin to do them justice requires a radical letting go and stringent attention. I was interested in following that impulse toward liberty.
terrorism is interesting to a novelist because it's a crime that's driven by an idea, as opposed to some kind of base materialist impulse. It's not like stealing from someone's house, or even assassinating someone. There are very complex ideological reasons behind these almost abstract acts of violence.
Arts and the Sciences are a natural symbiosis. They stem from the same human existential impulse - exploration. Exploration of what lies beneath the surface, and re-confuguration of elements of what we call reality.
A related aspect of intelligent consciousness is delay of gratification: the wisdom to accurately predict whether delay rather than acting on impulse will yield greater benefit.
Collaboration is everything from getting along with others to controlling your impulses so you can get along and not kick someone else off the swing. It's building a community and experiencing diversity and culture. Everything we do, in the classroom or at home, has to be built on that foundation.
When the initial little impulse comes it just tends to come. I wake up in the middle of the night, or I'll be swimming in the pool with my kids and just think, "Can't forget that one." Then there's the more organized side of the brain, which is when I choose to work on them. I've learned through a bunch of mentors how to demarcate the different times for your writing process. I keep multiple projects going at once and there's a time when no matter what you're doing, you have to stop and write it because it's coming.
The Holocaust most assuredly challenges any and all faith in God. Faith in humanity. Faith in nature. Faith in the future. I don't "tell" young people anything. I ask them to consider many things, particularly, their assumptions regarding their natural obligations to be loving towards all living beings. Many of my works - both literary and film - are fictional, like Codex Orféo. And that's because the genre has always allowed me to suggest things that are opinions, spiritual impulses and intuitions, not necessarily provable.
The joy in what I do is mostly creativity. I think creativity is an ecstatic impulse that we all have. And there's nothing more joyful than having a moment of creative insight and actually creating, or rather manifesting or incarnating your creative insight into actual, physical reality.
The struggle is part of the creative process, and it's very enjoyable to have the struggle. Without the struggle, there would be no joy in creativity. The one thing that is not enjoyable is if you get attached to the outcome. And if you're constantly looking for approval and you are not immune to criticism, then you are in trouble, and you will continue to be struggling and never find the creative impulse.
Just the fact that Hilary Clinton won the popular vote by such a large number gives some validation to the impulse to stand firm. If we don't, I think within a year administration is pretty much going to dismantle American society as we've known it. I'm not sure that we're able to stop it from happening, but I don't think people should just roll over and passively watch it happen.
I find that I'm not as worried anymore about what other people think. That's a comfortable place to be. And I'm starting to let go of the feeling that I need to push myself to do things I don't want to do - an impulse that has always been linked to the feeling that I'm not enough.
Why are you uncomfortable with the supernaturalist worldview of the biblical writers? Evangelicals don't want to just say, "Well, the inspired writers were wrong about some of their beliefs about the spiritual world and its inhabitants." That really doesn't work in a confessional situation! So instead we come up with excuses and interpretations that allow us to remake the biblical writers in our own post-Enlightenment image. I understand that impulse, but it's not honest.
Don't give up. It's really important to trust your impulses as an artist no matter what anybody else says.
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